{"id":633,"date":"2017-07-08T23:10:12","date_gmt":"2017-07-08T13:10:12","guid":{"rendered":"http:\/\/melbopera.wpengine.com\/?page_id=633"},"modified":"2026-03-14T10:35:18","modified_gmt":"2026-03-13T23:35:18","slug":"reviews","status":"publish","type":"page","link":"https:\/\/melbourneopera.com\/?page_id=633","title":{"rendered":"Reviews"},"content":{"rendered":"

[et_pb_section fb_built=”1″ fullwidth=”on” _builder_version=”4.25.1″ da_disable_devices=”off|off|off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_fullwidth_slider _builder_version=”4.27.4″ background_color=”#2d3743″ parallax=”on” custom_padding=”|||” box_shadow_style=”preset6″ box_shadow_blur=”10px” box_shadow_color=”rgba(0,0,0,0.1)” show_inner_shadow=”on” global_colors_info=”{}” button_text_size__hover_enabled=”off” button_one_text_size__hover_enabled=”off” button_two_text_size__hover_enabled=”off” button_text_color__hover_enabled=”off” button_one_text_color__hover_enabled=”off” button_two_text_color__hover_enabled=”off” button_border_width__hover_enabled=”off” button_one_border_width__hover_enabled=”off” button_two_border_width__hover_enabled=”off” button_border_color__hover_enabled=”off” button_one_border_color__hover_enabled=”off” button_two_border_color__hover_enabled=”off” button_border_radius__hover_enabled=”off” button_one_border_radius__hover_enabled=”off” button_two_border_radius__hover_enabled=”off” button_letter_spacing__hover_enabled=”off” button_one_letter_spacing__hover_enabled=”off” button_two_letter_spacing__hover_enabled=”off” button_bg_color__hover_enabled=”off” button_one_bg_color__hover_enabled=”off” button_two_bg_color__hover_enabled=”off”][et_pb_slide heading=”Reviews” use_bg_overlay=”on” use_text_overlay=”off” _builder_version=”4.27.4″ background_enable_color=”off” background_image=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/12\/3.-Royal-Exhibition-Building-interior.-Photographer_-Heath-Warwick.-Source_-Museums-Victoria-scaled-1.jpg” background_enable_image=”on” background_size=”contain” background_video_width=”1920″ background_video_height=”638″ header_text_shadow_style=”preset3″ global_colors_info=”{}” button_text_size__hover_enabled=”off” button_one_text_size__hover_enabled=”off” button_two_text_size__hover_enabled=”off” button_text_color__hover_enabled=”off” button_one_text_color__hover_enabled=”off” button_two_text_color__hover_enabled=”off” button_border_width__hover_enabled=”off” button_one_border_width__hover_enabled=”off” button_two_border_width__hover_enabled=”off” button_border_color__hover_enabled=”off” button_one_border_color__hover_enabled=”off” button_two_border_color__hover_enabled=”off” button_border_radius__hover_enabled=”off” button_one_border_radius__hover_enabled=”off” button_two_border_radius__hover_enabled=”off” button_letter_spacing__hover_enabled=”off” button_one_letter_spacing__hover_enabled=”off” button_two_letter_spacing__hover_enabled=”off” button_bg_color__hover_enabled=”off” button_one_bg_color__hover_enabled=”off” button_two_bg_color__hover_enabled=”off” sticky_transition=”on”]<\/p>\n

Hear what the media are saying about Melbourne Opera.<\/p>\n

[\/et_pb_slide][\/et_pb_fullwidth_slider][\/et_pb_section][et_pb_section fb_built=”1″ inner_shadow=”on” _builder_version=”4.16″ background_color=”#7c4dd5″ custom_padding=”4px|||||” da_disable_devices=”off|off|off” global_colors_info=”{}” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on”][et_pb_row disabled_on=”off|off|off” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”6px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2025\/06\/1X2A8720-e1749019325116.jpg” _builder_version=”4.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Saint-Sa\u00ebns – Samson et Dalila<\/span><\/p>\n

Read all the reviews from our June 2025 production<\/p>\n

Australian Arts Review<\/a><\/span><\/p>\n

Australian Book Review<\/a><\/span><\/p>\n

Stage Whispers Review<\/a><\/span><\/p>\n

Man-in-Chair Review<\/a><\/span><\/p>\n

Limelight Review<\/a><\/span><\/p>\n

The Age Review<\/a><\/span><\/p>\n

The Blurb Review<\/a><\/span><\/p>\n

Glamorazzi Review<\/a><\/span><\/p>\n

The Spectator Review<\/a><\/span><\/p>\n

Classic Melbourne<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2025\/03\/Warwick-Fyfe-1-e1741320255636.png” _builder_version=”4.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Wagner. Die Meistersinger von N\u00fcrnberg 2025<\/span><\/p>\n

Four performances of Wagner’s only comedy were given in the spectacular Melbourne Royal Exhibition Building in February 2025.<\/p>\n

Read all the Reviews<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Patricia Maunder – Limelight” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Puccini-Gala-Dix.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘Expressive shifts in dynamics, culminating in an aria of exciting vocal power and emotion, are a feature of Dix\u2019s assured singing. <\/span>“<\/span><\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=” Bryget Chrisfield – Beat” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4530-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘ Even though the majority of audience members know it\u2019ll end in tears, this production\u2019s final moments are handled in a fresh way as our eyes are expertly guided by the onstage movement.’<\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Paul Selar – ArtsReview” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4214-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘Xanthoudakis is radiant in capturing Mimi\u2019s fragility, dreams and desperation that culminates in the fear of loneliness in death.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – Man in Chair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.06.03\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘Bringing out the darkest tones of her mezzo soprano, Humble arrestingly conjures a villainous woman who is simply acting as she sees best for her family. <\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – Man in Chair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Boheme-image.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘This all new staging is presented at a very high standard of production and musical quality and is an absolute boon for a city currently starved of quality opera.\u00a0<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Heather Leviston – Classic Melbourne ” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4540-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘Szabo made as credible a Mimi as you could wish for. Her lyric soprano voice was fresh, clear and resonant, and had appealing warmth.’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Jenna Schroder – ArtsHub” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4245-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘The leads of La Boh\u00e8me are able to showcase an individual je ne sais quoi and then some, thanks to Gary Abrahams’ thoughtful and invigorating direction.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Savannah Indigo – Arts Hub” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.06.03\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘…\u00a0the rich score is well interpreted and shows extraordinary precision from conductor Raymond Lawrence and the Melbourne Opera Orchestra. <\/span>“<\/span><\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Alex First – The Blurb” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.15.14\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

“If you are after something that is mighty special, you shouldn\u2019t go past Melbourne Opera\u2019s stunning rendition of La Boh\u00e8me.”<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Patricia Maunder – Limelight” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4650-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

“… this La boh\u00e8me<\/em> is well worth seeing, including by those who have experienced the Puccini gem over and over.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Michael Shmith – Opera” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘ … <\/span>with sustained dramatic and musical pulse that forged the <\/span>action onwards, always with respect for Donizetti’s <\/span>peerless lines …”<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Paul Selar – Australian Arts Review” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Fiercely penetrating and teeming with crest after crest of musical highlights,’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – ManintheChair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440414055_909884491150187_4897650601436505390_n.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Splendidly realised in both dramatic and musical terms, this handsome new staging of<\/span> bel canto <\/em>treasure <\/span>Lucia di Lammermoor <\/em>sees Melbourne Opera at their confident best’<\/span> <\/span><\/p>\n

Full Review<\/a><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Heather Leviston – Classic Melbourne” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Hers (Xanthoudakis) was a most convincing Lucia sung with great technical prowess.’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][\/et_pb_column][\/et_pb_row][et_pb_row disabled_on=”off|off|off” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” custom_padding=”6px|||||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2025\/03\/Warwick-Fyfe-1-e1741320255636.png” _builder_version=”4.27.4″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Wagner. Die Meistersinger von N\u00fcrnberg 2025<\/span><\/p>\n

Four performances of Wagner’s only comedy were given in the spectacular Melbourne Royal Exhibition Building in February 2025.<\/p>\n

Read all the Reviews<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Patricia Maunder – Limelight” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Puccini-Gala-Dix.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘Expressive shifts in dynamics, culminating in an aria of exciting vocal power and emotion, are a feature of Dix\u2019s assured singing. <\/span>“<\/span><\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=” Bryget Chrisfield – Beat” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4530-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘ Even though the majority of audience members know it\u2019ll end in tears, this production\u2019s final moments are handled in a fresh way as our eyes are expertly guided by the onstage movement.’<\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Paul Selar – ArtsReview” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4214-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘Xanthoudakis is radiant in capturing Mimi\u2019s fragility, dreams and desperation that culminates in the fear of loneliness in death.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – Man in Chair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.06.03\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘Bringing out the darkest tones of her mezzo soprano, Humble arrestingly conjures a villainous woman who is simply acting as she sees best for her family. <\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – Man in Chair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Boheme-image.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘This all new staging is presented at a very high standard of production and musical quality and is an absolute boon for a city currently starved of quality opera.\u00a0<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Heather Leviston – Classic Melbourne ” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4540-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘Szabo made as credible a Mimi as you could wish for. Her lyric soprano voice was fresh, clear and resonant, and had appealing warmth.’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Jenna Schroder – ArtsHub” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4245-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

‘The leads of La Boh\u00e8me are able to showcase an individual je ne sais quoi and then some, thanks to Gary Abrahams’ thoughtful and invigorating direction.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Savannah Indigo – Arts Hub” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.06.03\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Puccini Gala 2024<\/span><\/p>\n

‘…\u00a0the rich score is well interpreted and shows extraordinary precision from conductor Raymond Lawrence and the Melbourne Opera Orchestra. <\/span>“<\/span><\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Alex First – The Blurb” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/Screenshot-2024-09-23-at-10.15.14\u202fPM.png” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

“If you are after something that is mighty special, you shouldn\u2019t go past Melbourne Opera\u2019s stunning rendition of La Boh\u00e8me.”<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Patricia Maunder – Limelight” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/09\/0I9A4650-scaled.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

La Boh\u00e8me 2024<\/span><\/p>\n

“… this La boh\u00e8me<\/em> is well worth seeing, including by those who have experienced the Puccini gem over and over.<\/span>“<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Michael Shmith – Opera” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘ … <\/span>with sustained dramatic and musical pulse that forged the <\/span>action onwards, always with respect for Donizetti’s <\/span>peerless lines …”<\/span><\/span><\/p>\n

 <\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Paul Selar – Australian Arts Review” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Fiercely penetrating and teeming with crest after crest of musical highlights,’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris – ManintheChair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440414055_909884491150187_4897650601436505390_n.jpg” _builder_version=”4.27.0″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Splendidly realised in both dramatic and musical terms, this handsome new staging of<\/span> bel canto <\/em>treasure <\/span>Lucia di Lammermoor <\/em>sees Melbourne Opera at their confident best’<\/span> <\/span><\/p>\n

Full Review<\/a><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Heather Leviston – Classic Melbourne” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2024\/05\/440461263_909884437816859_2948186558734160124_n.jpg” _builder_version=”4.25.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Lucia di Lammermoor 2024<\/span><\/p>\n

‘Hers (Xanthoudakis) was a most convincing Lucia sung with great technical prowess.’<\/span><\/p>\n

Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ disabled_on=”off|off|off” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”Simon Parris – Maninthechair” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0I9A8288-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023 <\/span><\/p>\n

‘\u2026 a beautifully blended, expertly realised musical performance that is as satisfying as it is entertaining<\/em> \u2026’ \u00a0Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Patricia Maunder – Limelight” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0I9A8207-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023 <\/span><\/p>\n

‘Sopranos Helena Dix and Eleanor Greenwood are magnificent as rival queens in Donizetti\u2019s Tudor tragedy<\/em>.’ \u00a0Full Review<\/a><\/span><\/p>\n

[\/et_pb_testimonial][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”Paul Selar – ArtsReview” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0I9A8105-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023<\/span><\/p>\n

‘Top to bottom, note to note and awash with spine-tingling tension, Saturday\u2019s opening night of Italian composer Gaetano Donizetti\u2019s <\/span>Maria Stuarda<\/span><\/em> thrilled completely.<\/em> – <\/span>Full Review.<\/a><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Peter Rose – Australian Book Review” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0I9A7742-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023<\/span><\/p>\n

‘How sensible and economical of the company to revive a successful, crowd-pleasing production.’\u00a0<\/span><\/span><\/em>\u00a0– <\/span>Full Review.<\/a><\/p>\n

[\/et_pb_testimonial][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”Bridget Davies – The Age” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0D3A4748-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023<\/span><\/p>\n

‘Everything this style is about \u2013 technique, tone, text \u2013 Dix has got it.’<\/em> – Full review.\u00a0<\/a><\/span>Scroll to Maria Stuarda.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Jim Breen – Classic Melbourne” portrait_url=”https:\/\/melbourneopera.com\/wp-content\/uploads\/2023\/09\/0D3A4748-scaled.jpg” _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Maria Stuarda 2023<\/span><\/p>\n

‘… an example of the company at its best’.<\/em>\u00a0Full review.\u00a0<\/a><\/span><\/p>\n

[\/et_pb_testimonial][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_accordion _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][et_pb_accordion_item title=”Maria Stuarda 2023″ open=”on” _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”]<\/p>\n

\n
\n
Production Company: Melbourne Opera<\/div>\n
Director: Suzanne Chaundy<\/div>\n
Musical Director: Raymond Lawrence<\/div>\n
<\/div>\n

This was a thrilling night at the opera!<\/p>\n<\/div>\n<\/div>\n

\n
Maria Stuarda centres on a mythical confrontation between Queen Elizabeth I of England and her cousin, Mary, Queen of Scots, who Elizabeth suspected of being involved in a plot to assassinate her. Mary had been imprisoned by Elizabeth, and her friends thought that bringing them together could pave the way to her being released. Of course, this was never going to happen in an opera.<\/div>\n<\/div>\n
\n
So we had two fiery Queens and two Australian sopranos with international careers to bring them to life. They certainly did that and the fireworks were wonderful.<\/div>\n<\/div>\n
\n
Helena Dix played the hapless Mary, who ends up being executed. Her pianissimo singing was beautiful, and she had the power to match Elizabeth. Her final aria was touching. Eleanor Greenwood has a more dramatic voice and was an imperious Elizabeth. Their confrontation was electric.<\/div>\n<\/div>\n
\n
The locals were not overshadowed by the international stars. Three were reprising their roles from 2015, when it was sung in English. Tenor Henry Choo was in fine voice as Leicester, while Eddie Muliaumaseli\u2019i\u2019s sonorous bass voice was a pleasure, as always, as Lord Cecil. Caroline Vercoe was a sympathetic companion to Mary.<\/div>\n<\/div>\n
\n
As Talbot, Christopher Hillier\u2019s powerful baritone was the best I\u2019d heard him, though he needs to reign in that big voice when dueting with Mr Choo.<\/div>\n<\/div>\n
\n
There were several arias, but the opera seemed to abound with wonderful duets and ensembles, generally well balanced. The orchestra, under Raymond Lawrence, was in fine form and supported the singers throughout. He was also responsible for the thrilling chorus singing, which displayed lots of light and shade.<\/div>\n<\/div>\n
\n
The sets and lighting were effective and I particularly liked the opening of the last scene with the execution block in a spot and the rest of the stage in darkness. The costumes were spectacular. The Tudor Rose featured prominently.<\/div>\n<\/div>\n
\n
This is a short season of an opera not to be missed.<\/div>\n
<\/div>\n<\/div>\n
\u2013 Graham Ford, Graham Ford Reviews<\/strong><\/div>\n

[\/et_pb_accordion_item][\/et_pb_accordion][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.22.1″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_blog fullwidth=”off” posts_number=”6″ include_categories=”33″ show_author=”off” show_categories=”off” show_excerpt=”off” _builder_version=”4.22.1″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_blog][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_3,1_3,1_3″ _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”The Age” job_title=”Otello review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Xanthoudakis soars in Australian premiere of Rossini’s rare Otello.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Classic Melbourne” job_title=”Otello review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

[Elena Xanthoudakis] Desdemona is another outstanding performance and a reason in itself to rush off to buy a ticket… [Stephen Smith] possesses a rich, vibrant tenor voice, suitably more powerful and darker in colour than those around him… Boyd Owen was exceptionally impressive in respect of the range of his attractive, virile tenor voice.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Timeout” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera punches well above its weight with a Wagnerian epic.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Classic Melbourne” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Tackling increasingly difficult Wagner operas with notable success, Melbourne Opera braved the so-called \u201cTristan Curse\u201d and, although not unscathed, produced a memorable performance of opera\u2019s most iconic love story. Just as the Sydney Symphony Orchestra had to replace an ailing Stuart Skelton for their concert performances of Tristan and Isolde in 2013, so illness plagued Melbourne Opera\u2019s leading singers, resulting in the postponement of the opening night to the second scheduled performance to enable Lee Abrahmsen to recover from a chest infection.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”ABR” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Tristan und Isolde, the opera in which Richard Wagner really took art in a new direction, is often described as the most important musical work of the nineteenth century. No lesser authority than Kobb\u00e9 calls it the most influential opera in all musical history, while the great Wagner conductor Christian Thielemann says it is \u2018the peak of operatic art, the opera of operas, the incunabulum, the key work. Tristan is the sum of everything and the exception to it\u2019. Finished in 1859 and first performed in 1865, Tristan earns this encomium because of its intensity, its inwardness, the way it distorts the rules of harmony \u2013 especially the famous Tristan chord which opens the prelude and is not resolved for some four hours. The work\u2019s full effect took decades to unfold, inspiring Nietzsche, Freud, Thomas Mann, Mahler, Schoenberg, Debussy, and many more.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Australian” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s crowning achievement. With Roberto Devereux, Melbourne Opera completes its Australian premiere of Donizetti\u2019s Tudor trilogy. None of these three tragedies is in the same popular league as his Lucia di Lammermoor or Don Pasquale. But Roberto Devereux emerged from Donizetti at the pinnacle of his acclaim, authority and audacity: the overture opens to the tune of God Save the Queen.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Limelight Magazine” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Opening night belonged to Australian soprano Helena Dix in the role of Queen Elizabeth I.\u00a0<\/span>With Roberto Devereux, Melbourne Opera completes the Donizetti Tudor trilogy including Anna Bolena (2015) and Maria Stuarda(2016); the first time this achievement has been accomplished in the country. Roberto Devereux is a mature work, written just after Lucia di Lammermoor though not Donizetti\u2019s most accomplished opera. The libretto by Cammarano is thin in both substance and subtlety and the music is not the composer\u2019s finest, yet we were all grateful to hear this rarely performed work for its opening run by Melbourne Opera.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Age” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

It is seldom that a semi-professional opera company \u2013 even Melbourne Opera, which so consistently overachieves \u2013 can host a performance that would grace the stage at Covent Garden or the Met. It did so at the Athenaeum on Saturday where Helena Dix was utterly superb as Queen Elizabeth I in Donizetti’s Roberto Devereux.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Theatre People” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Our state\u2019s opera scene has never looked stronger or healthier.\u00a0For many years, veteran companies like Lyric Opera, Opera Australia, and Victorian Opera have entertained, enthralled and treated audiences, satisfying every taste with wide-ranging repertoires featuring both traditional and contemporary fare.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Theatre People” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s \u2018Lohengrin\u2019: a visual feast. Melbourne Opera delights audiences once again with its second Wagnerian opera, Lohengrin, a visual feast that\u2019s well-cast and beautifully sung.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Stage Whispers” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

After a successful Tannh\u00e4user in 2016, Melbourne Opera lifted the bar further with Wagner\u2019s Lohengrin. We knew we were in for a special evening with an ethereal start to the overture, the sixty piece orchestra under the firm baton of David Kram. Having the brass in the boxes at the side of the auditorium added to the excitement.<\/p>\n

[\/et_pb_testimonial][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”Simon Parris” job_title=”Otello review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Balancing passion and vulnerability [Elena Xanthoudakis] gives a fascinating performance as Desdemona \u2026Stephen Smith went on give a smouldering portrayal of a man near crazed with jealousy… Henry Choo is in excellent voice as the self-serving Iago… Possessing a pure and thrilling tenor voice, Boyd Owen sings Rodrigo with great flair<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Stage Whispers” job_title=”Otello review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

The undisputed star of the opera was Elena Xanthoudakis as Desdemona, her warm, luminous soprano voice navigating the demanding bel canto bravura passages with consummate ease. Ms Xanthoudakis perfectly portrayed Desdemona’s wronged innocence and the strength of her love for Otello. Her tireless singing shone in the ensembles; and the “Willow Song” aria, with simple and beautiful harp accompaniment, was a particular highlight.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Stage Whispers” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

I attended what should have been the second performance of Tristan and Isolde after the first was cancelled due to a virus affecting the lead soprano and several other cast members. Fortunately Lee Abrahmsen seemed to have fully recovered.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Age” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

This was not the opening night Melbourne Opera had planned. But then, Wagner didn’t have the premiere he planned for Tristan und Isolde either. After trying for six years to have it staged, when a date was finally set in 1865, opening night had to be postponed for nearly a month because the Isolde lost her voice. Melbourne Opera’s leading lady too fell ill at the final hour on Friday but thankfully we only had to wait three days, not three weeks, to hear this revolutionary work.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

The delayed opening night of Tristan and Isolde proved well worth the wait, an evening of musical splendour that will live in the hearts and minds of those lucky enough to be there.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”ConcertoNet” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Full stage productions of Roberto Devereux are rare and rarer still are full \u201ccycles\u201d of Donizetti\u2019s three Tudor operas. That it falls to the small, unsubsidised company of Melbourne Opera to premier two of the three operas in Australia and consequently premier the complete trio is something of a minor miracle. Not only have Melbourne Opera lived up to their charter to provide a wider choice of repertoire for the opera-going public, but they have done so in style and with considerable success. Both Maria Stuarda and Ana Bolena were creditable productions which drew widespread praise and now Roberto Devereuxc ompletes their trifecta with a highly successful production and some superb, on occasion, superlative singing.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Theatre People” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Settling into the ornately decorated Athenaeum Theatre, the audience is shocked to attention with a booming, jolted chord from the orchestra pit. Greg Hocking, conductor and producer of Roberto Devereux, initiates us into an evening of whimsical, musical mastery with a tongue in cheek rendition of \u2018God Save the Queen\u2019 that transports the pomp and stuff of early 17th Century England into a balmy 21st Century Melbourne evening. The playful composition of this god-and-crown fearing number signals that what is to come is sure to be a rollicking delight.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Stage Whispers” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s latest production is Gaetano Donizetti\u2019s 1837 lyric tragedy Roberto Devereux, the last in his so-called Tudor trilogy. The company staged Mary Stuart in 2015and Anna Bolena in 2016, to considerable acclaim. However, this airing of Roberto Devereux, an Australian premi\u00e8re, is something else. Put simply, it was one of the most thrilling nights at the opera I have ever experienced \u2013 an opinion shared by many in the enthusiastic audience. If you haven\u2019t heard of Melbourne-born soprano Helena Dix (Queen Elizabeth I) yet \u2013 you will. This is the most exciting voice I have heard since Joan Sutherland.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

In yet another triumph, Melbourne Opera not only presents a superb evening of bel canto opera, but also corrects a long-standing arts omission by staging the Australian premiere of Donizetti\u2019s Roberto Devereux.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Plus Ones” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s \u2018Lohengrin\u2019: a visual feast. Melbourne Opera delights audiences once again with its second Wagnerian opera, Lohengrin, a visual feast that\u2019s well-cast and beautifully sung.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Australian” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s Lohengrin: ideal approach to Wagner. Melbourne Opera\u2019s ambition is showing no signs of abating. The company is preparing for a third China tour, delivering cycles of demanding Donizetti and Wagner operas, and sliding from cosy Athenaeum Theatre headquar\u00adters into grand venues typically reserved for commercial musicals. The latest enterprise is a staging of Wagner\u2019s Lohengrin under the neoclassical dome of the Regent Theatre, just 12 months after it brought Tann\u00adhauser to this stage and six months before a new Tristan and Isolde at the Palais Theatre.<\/p>\n

[\/et_pb_testimonial][\/et_pb_column][et_pb_column type=”1_3″ _builder_version=”4.16″ custom_padding=”|||” global_colors_info=”{}” custom_padding__hover=”|||”][et_pb_testimonial author=”Australian Book Review” job_title=”Otello review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

It is a real treat to hear an opera of this era in the intimate and historic surroundings of the Athenaeum Theatre… Astute casting of the three main tenor roles \u2013 Otello, Rodrigo, and Iago, and the two mezzo soprano principals, Desdemona and Emilia \u2013 offered pleasing contrasts of vocal timbre and stage presence. 4 Stars.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Opera Chaser” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

An accomplished Tristan and Isolde makes its mark from an increasingly ambitious Melbourne Opera.\u00a0<\/span>The determination and ambitiousness that percolates within an increasingly confident Melbourne Opera came in the form of a musically secure, vocally accomplished and exciting production of Tristan and Isolde at the Palais Theatre Monday night. Apart from a minor technical hitch that saw temporary loss of subtitles and background projections, not even the disastrous cancellation of Friday night\u2019s opening (due to an indisposed Isolde) impeded the quality of professionalism on display.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”ConcertoNet” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

The immensity of Wagner\u2019s Tristan and Isolde cannot be underestimated. Its expansive emotional palette, the sweeping journey across sea and land, the astonishingly huge singing role of Isolde in particular and not least, the sheer length of the score all make for a heavy-duty opera which tests the inventiveness of the cast and creative team as well as the stamina of the audience. Melbourne Opera\u2019s delayed first night \u2013 the indisposition of the soprano forcing a re-schedule \u2013 was well up to task and was enthusiastically received by a large audience.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Australian” job_title=”Tristan and Isolde review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s intrepid bid to scale Wagnerian heights. Jostling with the two professional opera companies serving Victoria, Melbourne Opera aspires to \u00adtackle the grandest, most difficult works in the operatic canon \u00addespite receiving no government funding, lacking a permanent professional chorus and orchestra, and, in its quest to employ local artists, competing with the lure of top-tier domestic and international companies.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”ArtsReview” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera\u2019s production of Roberto Devereux is a masterpiece. Their superb storytelling is made all the more exceptional through the deformation and violation of what you might consider traditional operatic singing.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Plus Ones” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera astounds with Roberto Devereux. Melbourne Opera\u2019s Roberto Devereux is very entertaining. Roberto Devereux is the last of Melbourne Opera\u2018s Donizetti\u2019s Tudor trilogy, with acclaimed productions of Maria Stuarda (Mary Stuart) in 2015 and Anna Bolena (Anne Boleyn) in 2016.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Classic Melbourne” job_title=”Roberto Devereux review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera manages to produce high quality operatic productions throughout the year without government funding. This is what makes their current production of Donizetti\u2019s Roberto Devereux all the more astounding. It is a rarely performed work and the final in a trilogy of Donizetti\u2019s Tudor-era operas presented by the company. The titular character of Roberto is played with gravity and courage by coloratura lyric tenor Henry Choo. His is a voice of rare beauty, with the capacity for sweetness as well as high drama. His interpretation of Roberto\u2019s Act 3 aria \u201cCome uno spirto angelico\u201d alone was worth the ticket price. In fact this production is a feast for lovers of the \u201cbel canto\u201d style of opera. Set at the court of Elizabeth 1 in 1601, the story is loosely based on the ageing queen\u2019s relationship with court favourite and former lover, Robert Devereux. When Donizetti\u2019s opera was premiered in 1837, with Libretto by Salvadore Cammarano, the prevailing performance style was melodrama, and this production has it in spades.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Herald Sun” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Our state\u2019s opera scene has never looked stronger or healthier.\u00a0For many years, veteran companies like Lyric Opera, Opera Australia, and Victorian Opera have entertained, enthralled and treated audiences, satisfying every taste with wide-ranging repertoires featuring both traditional and contemporary fare.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”The Age” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Melbourne Opera successfully tackles early Wagner. The great Italian composer Rossini was not a fan of Lohengrin: “One can’t judge it after a first hearing, and I certainly don’t intend hearing it a second time,” he said.<\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Limelight” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Wagner\u2019s swan makes a splash in Melbourne.\u00a0Wagner\u2019s music-drama about a knight, a swan and a damsel in distress has captivated Melbourne audiences for almost exactly 140 years. Lohengrin, in fact, was the first Wagner opera to be performed in Australia. We are told that audiences and critics hailed the opening night on 18 August 1877 at the Prince of Wales Opera House in Bourke Street as a pivotal moment in the city\u2019s ongoing musical development. Wagner himself was informed of the performances by a German expatriate, Emil Sander. The composer responded promptly and enthusiastically to Sander\u2019s news, encouraging his works to be sung in English, so that the audience would understand the text \u201cintimately\u201d.<\/span><\/p>\n

[\/et_pb_testimonial][et_pb_testimonial author=”Simon Parris” job_title=”Lohengrin review” _builder_version=”4.16″ background_size=”initial” background_position=”top_left” background_repeat=”repeat” global_colors_info=”{}”]<\/p>\n

Grand in scale yet intimate in detail, Melbourne Opera\u2019s lavish, confident and lovingly polished production of Richard Wagner\u2019s Lohengrin is an immensely satisfying experience.<\/span><\/p>\n

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Patrons are reminded to to avoid ticket \u201cresale\u201d sites such as Viagogo<\/em>, who advertise heavily and often mislead consumers into paying much higher prices than necessary. Tickets to our shows should only be purchased from an authorised and reputatable company like Ticketmaster, Ticketek or GoTix.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Hear what the media are saying about Melbourne Opera.Saint-Sa\u00ebns – Samson et Dalila Read all the reviews from our June 2025 production Australian Arts Review Australian Book Review Stage Whispers Review Man-in-Chair Review Limelight Review The Age Review The Blurb Review Glamorazzi Review The Spectator Review Classic MelbourneWagner. Die Meistersinger von N\u00fcrnberg 2025 Four performances […]<\/p>\n","protected":false},"author":3,"featured_media":5330,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_wds_title":"","_wds_metadesc":"","_wds_focus-keywords":"","_wds_meta-robots-adv":"","_wds_meta-robots-noindex":false,"_wds_meta-robots-nofollow":false,"_wds_meta-robots-index":false,"_wds_meta-robots-follow":false,"_wds_autolinks-exclude":false,"_wds_canonical":"","_wds_redirect":"","_wds_opengraph":[],"_wds_twitter":[],"footnotes":""},"class_list":["post-633","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/pages\/633","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/melbourneopera.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=633"}],"version-history":[{"count":5,"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/pages\/633\/revisions"}],"predecessor-version":[{"id":8164,"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/pages\/633\/revisions\/8164"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/melbourneopera.com\/index.php?rest_route=\/wp\/v2\/media\/5330"}],"wp:attachment":[{"href":"https:\/\/melbourneopera.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=633"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}